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I        UNIVLRSITVOF 
CALIFORNIA 

1       SAN  DIEGO 


3 1822 


Central  University  Library 

University  of  California,  San  Diego 

'lease  Note:  This  item  is  subject  to  recall. 

Date  Due 


0139(7/93) 


UCSD  Lib. 


ARIA  DA  CAPO 


BY  EDNA  ST.  VINCENT  MILLAY 

THE  HARP- WEAVER  AND  OTHER  POEMS 

SECOND  APRIL 

RENASCENCE  AND  OTHER  POEMS 

A  FEW  FIGS  FROM  THISTLES 

ARIA  DA  CAPO :  A  PLAY 

THE  LAMP  AND  THE  BELL:  A  DRAMA 


ARIA  DA  CAPO 

A  PLAY  IN  ONE  ACT 


BY 
EDNA  ST.  VINCENT  MILLAY 


Publishers 
HARPER  to  BROTHERS 

NEW  YORK  AND  LONDON 


ARIA  DA  CAPO 

Copyright,  1920 

By  Edna  St.  Vincent  Millay 

Printed  in  the  U.  S.  A. 


ARIA  DA  CAPO 


PERSONS 

PIERROT 

COLUMBINE 

COTHURNUS,  MASQUE  OF  TRAGEDY 

THYRSIS     1 

}•  Shepherds 
CORYDON    J 


ARIA  DA  CAPO 

A  PLAY  IN  ONE  ACT 

SCENE 
A  Stage 

f  i  JHE  curtain  rises  on  a  stage  set  for  a  Harlequin- 
X  ade,  a  merry  black  and  white  interior.  Directly 
behind  the  footlights,  and  running  parallel  with  them, 
is  a  long  table,  covered  with  a  gay  black  and  white 
cloth,  on  which  is  spread  a  banquet.  At  the  opposite 
ends  of  this  table,  seated  on  delicate  thin-legged  chairs 
with  high  backs,  are  Pierrot  and  Columbine,  dressed 
according  to  the  tradition,  excepting  that  Pierrot  is 
in  lilac,  and  Columbine  in  pink.  They  are  dining. 

COLUMBINE:     Pierrot,   a  macaroon!      I   cannot  live 
without  a  macaroon! 

PIERROT:  My  only  love, 

You  are  so  intense !   ...   Is  it  Tuesday,  Colum 
bine  ?  — 
I'll  kiss  you  if  it's  Tuesday. 

i 


ARIA    DA   CAPO 


COLUMBINE:  It  is  Wednesday, 

If    you    must    know.  ...  Is    this    my    artichoke, 
Or  yours? 

PIERROT  :  Ah,   Columbine, —  as  if  it  mattered ! 

Wednesday.   .    .    .  Will     it     be    Tuesday,     then, 

to-morrow, 
By  any  chance? 

COLUMBINE:  To-morrow  will  be — Pierrot, 

That  isn't  funny! 

PIERROT:  I  thought  it  rather  nice. 

Well,  let  us  drink  some  wine  and  lose  our  heads 
And  love  each  other. 

COLUMBINE:  Pierrot,  don't  you  love 

Me  now? 

PIERROT:    La,  what  a  woman!  —  how  should  I  know? 
Pour  me  some  wine:  I'll  tell  you  presently. 

COLUMBINE:         Pierrot,  do  you  know,  I  think  you 
drink  too  much. 

PIERROT:  Yes,  I  dare  say  I  do.  ...  Or  else 

too  little. 
It's  hard  to  tell.     You  see,  I  am  always  wanting 


ARIA   DA    CAPO 


A  little  more  than  what  I  have, — or  else 

A  little  less.    There's  something  wrong.     My  dear, 

How  many  fingers  have  you? 

COLUMBINE:  La,  indeed, 

How  should   I   know  ?  —  It  always  takes  me  one 

hand 
To    count    the    other    with.      It's    too    confusing. 

Why? 

PIERROT:    Why? — I  am  a  student,  Columbine; 
And  search  into  all  matters. 

COLUMBINE:  La,  indeed?  — 

Count  them  yourself,  then! 

PIERROT:  No.     Or,   rather,   nay. 

'Tis  of  no  consequence.  ...  I   am   become 
A  painter,  suddenly, —  and  you  impress  me  — 
Ah,  yes !  —  six  orange  bull's-eyes,   four  green  pin- 
wheels, 

And  one  magenta  jelly-roll, —  the  title 
As  follows:     Woman  Taking  in  Cheese  from  Fire- 
Escape. 

COLUMBINE:    Well,  I  like  that!     So  that  is  all  I've 

meant 
To  you! 


ARIA    DA   CAPO 


PIERROT:  Hush!    All  at  once  I  am  become 

A  pianist.    I  will  image  you  in  sound.  .  .  . 
On  a  new  scale.  .  .  .  Without  tonality.  .  .  . 
Vivace  senza  tempo  senza  tutto.  .  .  . 
Title:  Uptown  Express  at  Six  O' Clock. 
Pour  me  a  drink. 

COLUMBINE:  Pierrot,  you  work  too  hard. 

You  need  a  rest.     Come  on  out  into  the  garden, 
And  sing  me  something  sad. 

PIERROT:  Don't  stand  so  near  me! 

I  am  become  a  socialist.     I  love 
Humanity;  but  I  hate  people.     Columbine, 
Put  on  your  mittens,  child;  your  hands  are  cold. 

COLUMBINE:  My  hands  are  not  cold ! 

PIERROT:  Oh,  I  am  sure  they  are. 

And  you  must  have  a  shawl  to  wrap  about  you, 

And  sit  by  the  fire. 
COLUMBINE:  Why,  I'll  do  no  such  thing! 

I'm  hot  as  a  spoon  in  a  teacup! 
PIERROT:  Columbine, 

I'm  a  philanthropist.     I  know  I  am, 

Because  I  feel  so  restless.     Do  not  scream, 

Or  it  will  be  the  worse  for  you! 


ARIA    DA    CAPO 


COLUMBINE:  Pierrot, 

My  vinaigrette!    I  cannot  live  without 
My  vinaigrette! 

PIERROT:  My  only  love,  you  are 

So   fundamental!   .    .    .   How   would   you   like   to 

be 

An  actress,  Columbine  ?  —  I  am  become 
Your  manager. 

COLUMBINE:  Why,  Pierrot,  /  can't  act. 

PIERROT:         Can't  act!     Can't  act!     La,  listen  to 

the  woman! 
What's    that    to    do    with    the    price    of    furs?  — 

You're   blonde, 
Are    you    not?  —  you    have    no    education,    have 

you?  — 

Can't  act!     You  underrate  yourself,  my  dear! 
COLUMBINE:  Yes,  I  suppose  I  do. 

PIERROT:  As  for  the  rest, 

I'll  teach  you  how  to  cry,  and  how  to  die, 
And  other  little  tricks;  and  the  house  will  love 

you. 

You'll  be  a  star  by  five  o'clock  .    .    .  that  is, 
If  you  will  let  me  pay  for  your  apartment. 


ARIA    DA   CAPO 


COLUMBINE:     Let  you?  —  well,  that's  a  good  one! 
Ha!  Ha!  Ha! 
But  why? 

PIERROT:     But  why?  —  well,   as  to   that,   my   dear, 
I  cannot  say.     It's  just  a  matter  of  form. 

COLUMBINE:      Pierrot,    I'm    getting   tired    of   caviar 
And    peacocks'    livers.      Isn't   there  something   else 
That    people   eat  ?  —  some   humble   vegetable, 
That  grows  in  the  ground? 

PIERROT:  Well,  there  are  mushrooms. 

COLUMBINE:  Mushrooms! 

That's     so!        I     had     forgotten  .  .  .  mushrooms 

.  .  .  mushrooms.  .  .  . 

I    cannot    live   with  .  .  .  How   do   you    like    this 
gown? 

PIERROT:     Not  much.     I'm  tired  of  gowns  that  have 

the  waist-line 

About  the  waist,  and  the  hem  around  the  bottom, — 
And  women  with  their  breasts  in  front  of  them!' — 
Zut  and  ehe!  Where  does  one  go  from  here! 


ARIA    DA    CAPO 


COLUMBINE:     Here's  a  persimmon,  love.    You  always 
liked  them. 

PIERROT:  I  am  become  a  critic;  there  is  nothing 

I  can  enjoy.  .  .  .  However,  set  it  aside; 
I'll  eat  it  between  meals. 

COLUMBINE:  Pierrot,  do  you  know, 

Sometimes  I  think  you're  making  fun  of  me. 

PIERROT:     My  love,  by  yon  black  moon,  you  wrong 
us  both. 

COLUMBINE:    There  isn't  a  sign  of  a  moon,  Pierrot. 

PIERROT:  Of  course  not. 

There  never  was.     "Moon's"  just  a  word  to  swear 

by. 
"Mutton!"  —  now  there's  a  thing  you  can  lay  the 

hands  on, 

And  set  the  tooth  in!     Listen,  Columbine: 
I  always  lied  about  the  moon  and  you. 
Food  is  my  only  lust. 

COLUMBINE:  Well,  eat  it,  then, 

For  Heaven's  sake,  and  stop  your  silly  noise! 
I  haven't  heard  the  clock  tick  for  an  hour. 

PIERROT:    It's  ticking  all  the  same.    If  you  were  a  fly, 


ARIA    DA    CAPO 


You  would   be  dead   by  now.     And   if  I  were  a 

parrot, 
I  could  be  talking  for  a  thousand  years! 

(Enter  COTHURNUS.) 

PIERROT:  Hello,  what's  this,  for  God's  sake?  — 

What's  the  matter? 
Say,  whadda  you   mean?  —  get  off  the  stage,   my 

friend, 
And  pinch  yourself,  —  you're  walking  in  your  sleep ! 

COTHURNUS:  I  never  sleep. 

PIERROT:  Well,  anyhow,  clear  out. 

You  don't   belong  on   here.     Wait   for  your  own 

scene! 
Whadda  you  think  this  is, —  a  dress-rehearsal? 

COTHURNUS:    Sir,  I  am  tired  of  waiting.    I  will  wait 
No  longer. 

PIERROT:  Well,  but  whadda  you  going  to  do? 

The  scene  is  set  for  me! 

COTHURNUS:  True,  sir;  yet  I 

Can  play  the  scene. 

PIERROT:  Your  scene  is  down  for  later!     , 


ARIA    DA    CAPO 


COTHURNUS:     That,  too,  is  true,  sir;  but  I  play  it 
now. 

PIERROT:  Oh,  very  well!  —  Anyway,  I  am  tired 

Of  black  and  white.    At  least,  I  think  I  am. 

(Exit  COLUMBINE.) 

Yes,  I  am  sure  I  am.    I  know  what  I'll  do!  — 
I'll  go  and  strum  the  moon,  that's  what  I'll  do.  .  .  . 
Unless,  perhaps  .  .  .  you  never  can  tell  ...  I  may 

be, 

You  know,  tired  of  the  moon.    Well,  anyway, 
I'll  go  find  Columbine.  .  .  .  And  when  I  find  her, 
I  will  address  her  thus:    "Ehe,  Pierrette!"  — 
There's  something  in  that. 

(Exit  PIERROT.) 

COTHURNUS:  You,  Thyrsis!     Corydon! 

Where  are  you? 

THYRSIS:    (Off  stage.)     Sir,  we  are  in  our  dressing- 
room! 

COTHURNUS:  Come  out  and  do  the  scene. 

CORYDON  :   ( Off  stage. )  You  are  mocking  us !  — 
The  scene  is  down  for  later. 


IO  ARIA   DA   CAPO 


COTHURNUS:  That  is  true; 

But  we  will   play   it   now.     I   am   the  scene. 
(Seafs  himself  on   high  place  in  back  of  stage.} 

(Enter  CORYDON  and  THYRSIS.) 

CORYDON  :  Sir,  we  are  counting  on  this  little  hour. 
We  said,  "Here  is  an  hour, —  in  which  to  think 
A  mighty  thought,  and  sing  a  trifling  song, 
And  look  at  nothing." — And,  behold!  the  hour, 
Even  as  we  spoke,  was  over,  and  the  act  begun, 
Under  our  feet! 

THYRSIS:  Sir,  we  are  not  in  the  fancy 

To   play   the   play.     We   had    thought   to   play   it 
later. 

CORYDON  :      Besides,   this  is   the   setting   for   a   farce. 
Our  scene  requires  a  wall;  we  cannot  build 
A  wall  of  tissue-paper! 

THYRSIS:  We  cannot  act 

A  tragedy  with  comic  properties! 

COTHURNUS:       Try  it  and  see.     I  think  you'll  find 

you  can. 

One  wall  is  like  another.     And  regarding 
The  matter  of  your  insufficient  mood, 


ARIA    DA    CAPO  II 


The  important   thing  is  that  you  speak   the  lines, 
And     make     the     gestures.       Wherefore     I     shall 

remain 
Throughout,  and  hold  the  prompt-book.     Are  you 

ready  ? 

CORYDON-THYRSIS  :  (Sorrowfully.)  Sir,  we  are 
always  ready. 

COTHURNUS:  Play  the  play! 

(CoRYDON  and  THYRSIS  move  the  table  and  chairs 
to  one  side  out  of  the  way,  and  seat  them 
selves  In  a  half -re  dining  position  on  the 
floor.) 

THYRSIS:  How  gently  in  the  silence,   Corydon, 

Our   sheep   go  up   the   bank.     They   crop  a   grass 
That's  yellow  where  the  sun   is  out,  and  black 
Where  the  clouds  drag  their  shadows.     Have  you 

noticed 

How  steadily,  yet  with  what  a  slanting  eye 
They  graze? 

CORYDON:  As  if  they  thought  of  other  things. 

What    say    you,    Thyrsis,    do    they    only    question 


12  ARIA   DA   CAPO 


Where    next   to   pull?  —  Or   do   their   far   minds 

draw  them 

Thus  vaguely   north   of   west   and   south   of   east? 
THYRSis:      One    cannot    say.  .  .  .  The    black    lamb 

wears  its  burdocks 

As  if  they  were  a  garland, —  have  you  noticed? 
Purple  and  white  —  and  drinks  the  bitten  grass 
As  if  it  were  a  wine. 

CORYDON:  I've  noticed  that. 

What  say  you,   Thyrsis,   shall  we  make  a  song 
About   a   lamb   that   thought    himself   a  shepherd? 
THYRSIS  :     Why,    yes !  —  that  is,  why, —  no.     ( I  have 

forgotten  my  line.) 
COTHURNUS:   (Prompting.)     "I  know  a  game  worth 

two  of  that!" 
THYRSIS:     Oh,  yes.  ...  I  know  a  game  worth  two 

of  that! 

Let's  gather  rocks,  and  build  a  wall  between  us; 
And  say  that  over  there  belongs  to  me, 
And  over  here  to  you ! 

CORYDON:  Why, —  very  well. 

And  say  you  may  not  come  upon  my  side 
Unless  I  say  you  may ! 


ARIA   DA    CAPO  13 


THYRSIS:  Nor  you  on  mine! 

And  if  you  should,  'twould  be  the  worse  for  you! 

(They  weave  a  wall  of  colored  crepe  paper  ribbons 
from  the  centre  front  to  the  centre  back  of  the 
stage,  fastening  the  ends  to  COLUMBINE'S  chair 
in  front  and  to  PIERROT'S  chair  in  the  back.} 

CORYDON:  Now  there's  a  wall  a  man  may  see 

across, 
But  not  attempt  to  scale. 

THYRSIS:  An  excellent  wall. 

CORYDON:  Come,  let  us  separate,  and  sit  alone 

A  little  while,  and  lay  a  plot  whereby 
We  may  outdo  each  other.     (They  seat  themselves 
on  opposite  sides  of  the  wall.) 

PIERROT:  (Off  stage.)  Ehe,   Pierrette! 

COLUMBINE:  (Off  stage.)     My  name  is  Columbine! 
Leave  me  alone! 

THYRSIS:   (Coming  up  to  the  wall.) 

Corydon,  after  all,  and  in  spite  of  the  fact 
I  started  it  myself,  I  do  not  like  this 
So  very  much.     What  is  the  sense  of  saying 
I  do  not  want  you  on  my  side  the  wall? 


14  ARIA    DA   CAPO 


It  is  a  silly  game.    I'd  much  prefer 
Making  the  little  song  you  spoke  of  making, 
About   the  lamb,  you   know,   that  thought  himself 
A  shepherd !  —  what  do  you  say  ? 
(Pause.) 

CORYDON:   (At  wall.}      (I  have  forgotten  the  line.) 

COTHURNUS:   (Prompting.)     "How  do  I  know  this 
isn't  a  trick?" 

CORYDON  :     Oh,  yes.  .  .  .  How  do  I  know  this  isn't 

a  trick 
To  get  upon  my  land  ? 

THYRSIS:  Oh,  Corydon, 

You  know  it's  not  a  trick.     I  do  not  like 
The   game,    that's   all.      Come   over   here,    or   let 

me 
Come  over  there. 

CORYDON:  It  is  a  clever  trick 

To  get  upon  my  land.      (Seats  himself  as  before.) 

THYRSIS:     Oh,  very  well!     (Seats  himself  as  before.) 
(To  himself.)     I  think  I  never  knew  a  sillier  game. 

CORYDON:  (Coming  to  wall.) 

Oh,  Thyrsis,  just  a  minute!  —  all  the  water 


ARIA    DA    CAPO  15 


Is  on  your  side  the  wall,  and  the  sheep  are  thirsty. 
I  hadn't  thought  of  that. 

THYRSIS:  Oh,  hadn't  you? 

CORYDON:  Why,  what  do  you  mean? 

THYRSIS  :  What  do  I  mean  ?  —  I  mean 

That  I  can  play  a  game  as  well  as  you  can. 
And  if  the  pool  is  on  my  side,  it's  on 
My  side,  that's  all. 

CORYDON:  You  mean  you'd  let  the  sheep 

Go  thirsty? 

THYRSIS:       Well,  they're  not  my  sheep.     My  sheep 
Have  water  enough. 

CORYDON:     Your  sheep!     You  are  mad,  to  call  them 
Yours  —  mine  —  they  are  all  one   flock !     Thyrsis, 

you  can't  mean 

To  keep  the  water  from  them,  just  because 
They  happened  to  be  grazing  over  here 
Instead  of  over  there,  when  we  set  the  wall  up? 

THYRSIS:    Oh,  can't  I? — wait  and  see!  —  and  if  you 

try 
To  lead  them  over  here,  you'll  wish  you   hadn't! 


1 6  ARIA   DA   CAPO 


CORYDON:     I  wonder  how  it  happens  all  the  water 
Is  on  your  side.  .  .  .  I'll  say  you  had  an  eye  out 
For  lots  of  little  things,  my  innocent  friend, 
When  I  said,  "Let  us  make  a  song,"  and  you  said, 
"I  know  a  game  worth  two  of  that!" 

COLUMBINE:   (Off  stage.)  Pierrot, 

D'you  know,  I  think  you  must  be  getting  old, 
Or  fat,  or  something, —  stupid,   anyway!  — 
Can't  you  put  on  some  other  kind  of  collar? 

THYRSIS:       You   know   as  well   as   I   do,    Corydon, 
I  never  thought  anything  of  the  kind. 
Don't  you? 

CORYDON:  I  do  not. 

THYRSIS:  Don't  you? 

CORYDON:  Oh,  I  suppose  so. 

Thyrsis,  let's  drop  this, —  what  do  you  say?  —  it's 

only 

A  game,  you  know  ...  we  seem  to  be  forgetting 
It's  only  a   game  ...  a  pretty  serious   game 
It's  getting  to  be,  when  one  of  us  is  willing 
To  let  the  sheep  go  thirsty  for  the  sake  of  it. 


ARIA    DA   CAPO  17 


THYRSIS:  I  know  it,  Corydon. 

(They  reach  out  their  arms  to  each  other  across  the 
wall) 

COTHURNUS:   (Prompting.}  "But  how  do  I 

know " 

THYRSIS:    Oh,  yes.  .  .  .  But  how  do  I  know  this  isn't 

a  trick 
To  water  your  sheep,  and  get  the  laugh  on  me? 

CORYDON  :     You  can't  know,  that's  the  difficult  thing 

about  it, 

Of  course, —  you  can't  be  sure.     You  have  to  take 
My  word  for  it.     And  I  know  just  how  you  feel. 
But  one  of  us  has  to  take  a  risk,  or  else, 
Why,    don't    you    see  ?  —  the    game    goes    on    for 
ever!  .  .  . 

It's  terrible,  when  you  stop  to  think  of  it.  ... 
Oh,  Thyrsis,  now  for  the  first  time  I  feel 
This  wall  is  actually  a  wall,   a  thing 
Come  up  between  us,  shutting  you  away 
From  me.  ...  I  do  not  know  you   any   more! 

THYRSIS:     No,  don't  say  that!     Oh,   Corydon,   I'm 

willing 
To  drop  it  all,  if  you  will !    Come  on  over 


1 8  ARIA    DA    CAPO 


And  water  your  sheep!     It  is  an  ugly  game. 

I  hated  it  from  the  first.  .  .  .  How  did  it  start? 

CORYDON  :     I  do  not  know  ...  I  do  not  know  .  .  . 

I  think 

I  am  afraid  of  you !  —  you  are  a  stranger ! 
I   never  set   eyes  on  you   before!      "Come   over 
And  water  my  sheep,"  indeed !  —  They'll  be  more 

thirsty 

Than  they  are  now  before  I  bring  them  over 
Into  your  land,  and  have  you  mixing  them  up 
With  yours,  and  calling  them  yours,  and  trying  to 
keep  them! 

(Enter  COLUMBINE) 

COLUMBINE:  (To  COTHURNUS.)     Glummy,  I  want 
my  hat. 

THYRSIS:  Take  it,  and  go. 

COLUMBINE:    Take  it  and  go,  indeed.     Is  it  my  hat, 

Or  isn't  it?     Is  this  my  scene,  or  not? 

Take  it  and  go!     Really,  you  know,  you  two 

Are  awfully  funny! 

(Exit  COLUMBINE) 
THYRSIS:  Corydon,  my  friend, 

I'm  going  to  leave  you  now,  and  whittle  me 


ARIA   DA   CAPO  1 9 


A  pipe,  or  sing  a  song,  or  go  to  sleep. 
When  you  have  come  to  your  senses,  let  me  know. 
(Goes  back  to  where  he  has  been  sitting,  lies  down 

and  sleeps.) 
(CoRYDON,  in  going  back  to  where  he  has  been  sitting, 

stumbles  over  bowl  of  colored  confetti  and  colored 

paper  ribbons.) 
CORYDON:     Why,  what  is  this? — Red  stones  —  and 

purple  stones  — 
And   stones  stuck   full   of  gold !  —  The  ground    is 

full 

Of  gold  and  colored  stones!  ...  I'm  glad  the  wall 
Was  up   before   I    found  them !  —  Otherwise, 
I  should  have  had  to  share  them.    As  it  is, 
They  all  belong  to  me.  .  .  .  Unless —  (He  goes  to 

wall  and  digs  up  and  down  the  length  of  it,  to 

see  if  there  are  jewels  on  the  other  side.)     None 

here 

None  here  —  none  here  —  They  all  belong  to  me ! 

(Sits.) 
THYRSIS:    (Awakening.)      How  curious!      I   thought 

the  little  black  lamb 

Came  up  and  licked  my  hair ;  I  saw  the  wool 
About  its  neck  as  plain  as  anything! 


2O  ARIA    DA   CAPO 


It  must  have  been  a  dream.     The  little  black  lamb 
Is  on  the  other  side  of  the  wall,  I'm  sure.     (Goes 
to  wall  and  looks  over.     CORYDON  is  seated  on 
the  ground,  tossing  the  confetti  up  into  the  air 
and  catching  it.) 
Hello,  what's  that  you've  got  there,  Corydon? 

CORYDON  :    Jewels. 

THYRSIS:     Jewels?  —  And   where   did   you   ever  get 
them? 

CORYDON:  Oh,  orer  here. 

THYRSIS:  You  mean  to  say  you  found   them, 

By  digging  around  in  the  ground  for  them? 

CORYDON:   (Unpleasantly.)  No,   Thyrsis, 

By  digging  down  for  water  for  my  sheep. 

THYRSIS:      Corydon,    come    to    the   wall   «    minute, 

will  you? 
I  want  to  talk  to  you. 

CORYDON:  I  haven't  time. 

I'm  making  me  a  necklace  of  red  stones. 

THYRSIS:     I'll  give  you  all  the  water  that  you  want, 
For  one  of  those  red  stones, —  if  it's  a  good  one. 


ARIA   DA    CAPO  21 


CORYDON:     Water?  —  what  for?  —  what  do  I  want 
of  water? 

THYRSIS:  Why,  for  your  sheep! 

CORYDON:  My  sheep?  —  I'm  not  a  shepherd! 

THYRSIS:  Your  sheep  are  dying  of  thirst. 

CORYDON:  Man,  haven't  I  told  you 

I  can't  be  bothered  with  a  few  untidy 
Brown  sheep  all   full  of  burdocks?  —  I'm   a  mer 
chant. 

That's  what  I  am !  —  And  if  I  set  my  mind  to  it 
I  dare  say  I  could  be  an  emperor ! 
(To  himself.)     Wouldn't  I  be  a  fool  to  spend  my 

time 

Watching  a  flock  of  sheep  go  up  a  hill, 
When  I  have  these  to  play  with  ?  —  when  I  have 

these 

To  think  about?  —  I  can't  make  up  my  mind 
Whether  to  buy  a  city,  and  have  a  thousand 
Beautiful  girls  to  bathe  me,  and  be  happy 
Until  I  die,  or  build  a  bridge,  and  name  it 
The  Bridge  of  Corydon, —  and  be  remembered 
After  I'm  dead. 


22  ARIA   DA    CAPO 


THYRSIS:  Corydon,  come  to  the  wall, 

Won't  you  ?  —  I  want  to  tell  you  something. 

CORYDON  :  Hush ! 

Be  off!     Be  off!     Go  finish  your  nap,  I  tell  you! 

THYRSIS:     Corydon,   listen:  if  you  don't  want  your 

sheep, 
Give  them  to  me. 

CORYDON:  Be  off!     Go  finish  your  nap. 

A  red  one  —  and  a  blue  one  —  and   a  red  one  — 
And   a  purple  one  —  give  you  my  sheep,   did  you 

say?  — 

Come,  come!     What  do  you  take  me  for,  a  fool? 
I've    a    lot    of    thinking    to    do, —  and    while    I'm 

thinking, 

The  sheep  might  just  as  well  be  over  here 
As  over  there.  ...  A  blue  one  —  and  a  red  one  — 

THYRSIS:  But  they  will  die! 

CORYDON  :  And  a  green  one  —  and  a  couple 

Of  white  ones,  for  a  change. 

THYRSIS:  Maybe  I  have 

Some  jewels  on  my  side. 


ARIA   DA   CAPO  23 


CORYDON:  And  another  green  one  — 

Maybe,  but  I  don't  think  so.       You  see,  this  rock 
Isn't  so  very  wide.     It  stops  before 
It  gets  to  the  wall.     It  seems  to  go  quite  deep, 
However. 

THYRSIS:    (With  hatred.)     I  see. 

COLUMBINE:   (Off  stage.)     Look,  Pierrot,  there's  the 
moon. 

PIERROT:   (Off  stage.)     Nonsense! 

THYRSIS:  I  see. 

COLUMBINE:  (Off   stage.)      Sing   me   an    old    song, 

Pierrot, — 
Something  I   can  remember. 

PIERROT:   (Off  stage.)  Columbine. 

Your  mind   is  made  of  crumbs, —  like  an  escallop 
Of  oysters, —  first  a  layer  of  crumbs,  and  then 
An  oystery  taste,  and  then  a  layer  of  crumbs. 

THYRSIS:   (Searching.)      I  find  no  jewels  .  .  .  but  I 

wonder  what 

The  root  of  this  black  weed  would  do  to  a  man 
If  he  should  taste  it.  ...  I  have  seen  a  sheep  die, 
With  half  the  stalk  still  drooling  from  its  mouth. 


24  ARIA    DA    CAPO 


'Twould  be  a  speedy  remedy,  I  should  think, 
For  a  festered  pride  and  a  feverish  ambition. 
It  has  a  curious  root.     I  think  I'll  hack  it 
In  little  pieces.  .  .  .  First  I'll  get  me  a  drink; 
And  then  I'll  hack  that  root  in  little  pieces 
As  small  as  dust,  and  see  what  the  color  is 
Inside.     (Goes  to  bowl  on  floor.) 

The  pool  is  very  clear.     I  see 

A  shepherd  standing  on  the  brink,  with  a  red  cloak 
About  him,  and  a  black  weed  in  his  hand.  .  .  . 
'Tis  I.  (Kneels  and  drinks.) 

CORYDON:   (Coming  to  wall.)     Hello,  what  are  you 
doing,   Thyrsis? 

THYRSIS:    Digging  for  gold. 

CORYDON  :  I'll  give  you  all  the  gold 

You  want,  if  you'll  give  me  a  bowl  of  water. 
If  you  don't  want  too  much,  that  is  to  say. 

THYRSIS  :       Ho,  so  you've  changed  your  mind  ?  —  It's 

different, 
Isn't  it,  when  you  want  a  drink  yourself? 

CORYDON:     Of  course  it  is. 


ARIA   DA    CAPO  25 


THYRSIS:  Well,  let  me  see  ...  a  bowl 

Of  water, —  come  back  in  an  hour,  Corydon. 

I'm  busy  now. 
CORYDON  :  Oh,  Thyrsfs,  give  me  a  bowl 

Of   water!  —  and    I'll   fill    the   bowl   with   jewels, 

And  bring  it  back! 
THYRSIS:  Be  off,  I'm  busy  now. 

(He  catches  sight  of  the  weed,  picks  it  up  and  looks 
at  it,  unseen  by  CORYDON.) 

Wait !  —  Pick     me     out     the     finest     stones     you 
have  .  .  . 

I'll  bring  you  a  drink  of  water  presently. 

CORYDON:  (Goes  back  and  sits  down,  with  the  jewels 

before  him.) 
A  bowl  of  jewels  is  a  lot  of  jewels. 

THYRSIS:   (Chopping  up  the  weed.)      I  wonder  if  it 

has  a  bitter  taste. 
CORYDON:    There's  sure  to  be  a  stone  or  two  among 

them 

I  have  grown  fond  of,  pouring  them  from  one  hand 
Into  the  other. 

THYRSIS:  I  hope  it  doesn't  taste 

Too  bitter,  just  at  first. 


26  ARIA   DA    CAPO 


CORYDON:  A  bowl  of  jewels 

Is  far  too  many  jewels  to  give  away 
And    not    get   back   again. 

THYRSIS:  I   don't  believe 

He'll  notice.     He's  too  thirsty.     He'll  gulp  it  down 
And  never  notice. 

CORYDON:  There  ought  to  be  some  way 

To  get  them  back  again.  ...  I  could  give  him  a 

necklace, 

And   snatch   it   back,    after   I'd   drunk   the   water, 
I    suppose.  .  .  .  Why,    as    for    that,    of    course    a 

necklace.  .  .  . 

(He  puts  two  or  three  of  the  colored  tapes  together 
and  tries  their  strength  by  pulling  them,  after 
which  he  puts  them  around  his  neck  and  pulls 
them,  gently,  nodding  to  himself.  He  gets  up 
and  goes  to  the  wall,  with  the  colored  tapes  in 
his  hands.} 

(THYRSIS  in  the  meantime  has  poured  the  powdered 
root  —  black  confetti  —  into  the  pot  which  con 
tained  the  flower  and  filled  it  up  with  wine  from 
the  punch-bowl  on  the  floor.  He  comes  to  the 
wall  at  the  same  time,  holding  the  bowl  of 
poison.) 


ARIA    DA    CAPO  27 


THYRSIS:     Come,  get  your  bowl  of  water,  Corydon. 

CORYDON  :     Ah,  very  good !  —  and  for  such  a  gift  as 

that 

I'll  give  you  more  than  a  bowl  of  unset  stones. 
I'll  give  you  three  long  necklaces,  my  friend. 
Come  closer.     Here  they  are.      (Puts  the  ribbons 
about  THYRSIS'  neck.) 

THYRSIS:   (Putting1    bowl    to     CORYDON'S     mouth.) 
I'll  hold  the  bowl 
Until  you've  drunk  it  all. 

CORYDON:  Then  hold  it  steady. 

For   every   drop   you   spill   I'll   have  a  stone   back 
Out  of  this  chain. 

THYRSIS:  I  shall  not  spill  a  drop. 

(  CORYDON    drinks,   meanwhile   beginning  to   strangle 
THYRSIS.) 

THYRSIS:     Don't  pull  the  string  so  tight. 

CORYDON:  You're  spilling  the  water. 

THYRSIS:  You've  had  enough  —  you've  had 

enough  —  stop  pulling 
The  string  so  tight! 


28  ARIA    DA   CAPO 


CORYDON:  Why,  that's  not  tight  at  all  .  .  . 

How's  this? 

THYRSIS:   (Drops    bowl.)       You're    strangling    me! 

Oh,  Corydon! 
It's  only   a  game!  —  and  you   are  strangling  me! 

CORYDON:     It's  only  a  game,  is  it?  —  Yet  I  believe 
You've    poisoned    me    in    earnest!      (Writhes   and 
pulls    the    strings    tighter,    winding    them    about 
THYRSIS'  neck.) 

THYRSIS :  Corydon !   (Dies.) 

CORYDON:      You've    poisoned    me    in   earnest.  ...  I 

feel  so  cold.  .  .  . 

So  cold  .  .  .  this  is  a  very  silly  game.  .  .  . 
Why  do  we  play  it? — let's  not  play  this  game 
A  minute  more  .  .  .  let's  make  a   little  song 
About  a  lamb.  .  .  .  I'm  coming  over  the  wall, 
No    matter   what   you    say, —  I    want    to    be    near 

you.  .  .  . 

(Groping  his  way,  with  arms  wide  before  him,  he 
strides  through  the  frail  papers  of  the  wall  with 
out  knowing  it,  and  continues  seeking  for  the 
wall  straight  across  the  stage.) 


ARIA    DA    CAPO  2Q 


Where  is  the  wall?  (Gropes  his  way  back,  and 
stands  very  near  THYRSIS  without  seeing  him; 
he  speaks  slowly.) 

There  isn't  any  wall, 
I  think.  (Takes  a  step  forward,  his  foot 

touches  THYRSIS'  body,  and  he  falls  down  beside 

him.) 

Thyrsis,  where  is  your  cloak?  —  just  give  me 
A    little    bit   of    your   cloak!  .  .  .   (Draws    corner 

of  THYRSIS'  cloak  over  his  shoulders,  falls  across 

THYRSIS'  body-,  and  dies.) 

(COTHURNUS  closes  the  prompt-book  with  a  bang, 
arises  matter-of-factly,  comes  down  stage,  and 
places  the  table  over  the  two  bodies,  drawing 
down  the  cover  so  that  they  are  hidden  from  any 
actors  on  the  stage,  but  visible  to  the  audience, 
pushing  in  their  feet  and  hands  with  his  boot. 
He  then  turns  his  back  to  the  audience,  and  claps 
his  hands  twice.) 

COTHURNUS:   Strike  the  scene!    (Exit  COTHURNUS.) 
(Enter  PIERROT  and  COLUMBINE.) 

PIERROT:    Don't  puff  so,  Columbine! 


3O  ARIA    DA   CAPO 


COLUMBINE:  Lord,  what  a  mess 

This  set  is  in!     If  there's  one  thing  I  hate 
Above   everything   else, —  even    more    than    getting 

my   feet   wet  — 
It's   clutter !  —  He   might   at   least    have   left   the 

scene 
The    way    he    found    it  ...  don't    you    say    so, 

Pierrot  ? 
(She  picks  up  punch  bowl.     They  arrange  chairs  as 

before  at  ends  of  table.) 

PIERROT:     Well,  I   don't  know.     I  think  it  rather 

diverting 

The  way  it  is.  (Yawns,  picks  up  confetti 

bowl.)  Shall  we  begin? 

COLUMBINE:  (Screams.)  My  God! 

What's  that  there  under  the  table? 

PIERROT:  It  is  the  bodies 

Of  the  two  shepherds  from  the  other  play. 

COLUMBINE:   (Slowly.)      How   curious    to   strangle 

him  like  that, 
With  colored  paper  ribbons. 


ARIA    DA    CAPO  31 


PIERROT:  Yes,  and  yet 

I  dare  say  he  is  just  as  dead.      (Pauses.     Calls.) 

Cothurnus  1 

Come  drag  these   bodies  out  of   here!     We  can't 
Sit  down   and   eat  with   two   dead   bodies  lying 
Under    the     table!  .  .  .  The     audience     wouldn't 
stand  for  it! 

COTHURNUS:   (Off  stage.)     What  makes  you   think 

so?  — 

Pull  down  the  tablecloth 

On  the  other  side,  and  hide  them  from  the  house, 
And  play  the  farce.     The  audience  will  forget. 

PIERROT:  That's  so.     Give  me  a  hand  there, 

Columbine. 

(PIERROT  and  COLUMBINE  pull  down  the  table  cover 
in  such  a  way  that  the  two  bodies  are  hidden 
from  the  house,  then  merrily  set  their  bowls  back 
on  the  table,  draw  up  their  chairs,  and  begin  the 
play  exactly  as  before.) 

COLUMBINE  :  Pierrot,  a  macaroon, —  I  cannot  live 
without  a  macaroon! 


32  ARIA    DA    CAPO 


PIERROT:  My  only  love, 

You  are  so   intense!  ...  Is  it   Tuesday,   Colum 
bine? — 

I'll  kiss  you  if   it's  Tuesday.      (Curtains  begin   to 
close  slowly.) 

COLUMBINE:  It  is  Wednesday, 

If  you  must  know.  ...  Is  this  my  artichoke 
Or  yours? 

PIERROT:  Ah,  Columbine,  as  if  it  mattered! 

Wednesday.  .  .  .  Will    it    be    Tuesday,    then,    to 
morrow, 
By  any  chance?  .  .  . 


[CURTAIN.] 


AUTHOR'S  NOTE 

ON  THE   PLAYING  OF 

ARIA  DA  CAPO 


ORIGINAL  CAST 

[AS    PLAYED    BY    THE    PROVINCETOWN    PLAYERS,    NEW 

YORK  CITY] 

PIERROT  HARRISON  DOWD 

COLUMBINE  NORMA  MILLAY 

COTHURNUS  HUGH  FERRISS 

CORYDON  CHARLES  ELLIS 

THYRSIS  JAMES  LIGHT 


AUTHOR'S  NOTE 

SO  great  is  my  vexation  always,  when  reading  a 
play,  to  find  its  progress  constantly  being  halted 
and  its  structure  loosened  by  elaborate  explanatory 
parentheses,  that  I  resolved  when  I  should  publish 
Aria  da  Capo  to  incorporate  into  its  text  only  those 
explanations  the  omission  of  which  might  confuse  the 
reader  or  lend  a  wrong  interpretation  to  the  lines. 
Since,  however,  Aria  da  Capo  was  written  not  only 
to  be  read  but  also  to  be  acted,  and  being  conscious 
that  the  exclusion  of  the  usual  directions,  while  clari 
fying  the  play  to  the  reader,  may  make  it  bare  of 
suggestions  and  somewhat  baffling  to  the  producer,  I 
am  adding  here  some  remarks  which  have  been  found 
of  value  in  preparing  it  for  presentation  on  the  stage. 
Since  the  production  of  Aria  da  Capo  by  the 
Provincetown  Players,  I  have  received  a  great  many 
letters  from  the  directors  of  little  theatres,  asking  for 
copies  of  it  with  a  view  to  producing  it.  Very  often, 
after  I  send  the  play,  I  receive  a  letter  in  reply  asking 

37 


38  ARIA    DA    CAPO 


for  some  suggestions  for  its  presentation,  and  enclosing 
direct  questions  on  points  that  have  been  difficult. 
It  occurred  to  me  finally  that  it  would  be  reasonable 
to  make  up  a  sort  of  informal  prompt-book  to  send 
about  with  the  play;  and  it  is  that  which  is  printed 
below.  It  will  be  found  incomplete  and  uneven,  in 
some  instances  unnecessarily  detailed,  in  others  not 
sufficiently  so;  all  of  which  is  due  to  the  fact  that 
it  was  put  together  loosely,  from  answers  to  chance 
questions,  rather  than  logically,  as  an  entity  in  itself. 


SUGGESTIONS    FOR    THE    PRODUCTION 
OF  "ARIA  DA  CAPO" 

SETTING: 

The  setting  required  is  simple:  —  a  grey  curtain,  a 
long  black  table,  two  slender  black  high-backed  chairs, 
and  a  raised  platform. 

Instead  of  wings  and  back-drop  the  Provincetown 
Players  cleverly  utilized  painted  screens,  the  heights 
varying  from  6  to  10  feet,  these  being  set  right  and 
left  of  the  stage  in  such  manner  as  to  give  the  effect 
of  depth  and  distance. 

The  table,  six  feet  long  and  two  feet  wide,  has  thin 
legs  and  is  painted  black. 

When  Pierrot  and  Columbine  enter  in  the  final 
scene,  it  is  not  necessary  that  the  table  which 
Cothurnus  has  replaced  shall  entirely  conceal  the 
bodies  of  Thyrsis  and  Corydon.  Pierrot  and  Colum 
bine  must  ignore  them  until  the  lines  indicate  their 
discovery,  no  matter  how  they  may  have  fallen. 

Particular  attention  must  be  given  to  the  chairs 
39 


4O  ARIA    DA    CAPO 


in  this  set.  They  are  used  to  construct  the  tissue- 
paper  wall,  and,  although  delicate,  should  be  heavy 
enough  to  remain  solid  and  steady,  up  and  down  stage, 
without  the  possibility  of  an  upset  when  Corydon 
strides  through  the  wall. 

Near  the  footlights  (actors'  left)  are  two  sofa 
pillows,  used  to  represent  the  rocks  against  which  the 
shepherds  lean.  On  the  left  of  the  stage  have  another 
pillow,  which  Thyrsis  places  under  his  head  when  he 
lies  down  to  sleep.  Use  cloth  or  crepe  paper  for  these 
pillows,  and  have  them  of  spotted  black  and  white 
material,  or  of  any  gay  color  except  red  or  blue. 

Cothurnus  occupies  a  chair  upon  a  platform,  up 
stage,  centre,  with  two  or  three  steps  surrounding  it 
on  three  sides.  Drape  this  with  plain  heavy  black 
cloth. 

The  table  covering  is  important.  Its  width  is  equal 
to  that  of  the  added  height  and  width  of  the  table. 
As  it  must  be  moved  to  cover  the  bodies  of  Thyrsis 
and  Corydon,  it  should  be  of  sufficient  weight  to 
prevent  slipping.  It  will  be  well  to  experiment  with 
this,  to  ensure  proper  performance. 

The  cover  should  have  black  and  white  spots  and 
striped  ends. 


ARIA    DA    CAPO  41 


The  table  is  set  as  follows :  —  two  large  wooden 
bowls  (at  least  seven  inches  high  and  fourteen  inches 
in  diameter).  One  is  placed  at  each  end  of  the  table. 
That  at  Columbine's  end  should  contain  persimmons, 
pomegranates,  grapes  and  other  bright  exotic  fruits. 
Pierrot's  bowl  has  confetti  and  colored  paper  ribbons, 
the  latter  showing  plainly  over  the  edge.  (If  Colum 
bine  uses  practical  macaroons,  put  them  into  this 
bowl. ) 

Near  Columbine,  place  a  practical  uncooked 
artichoke;  have  this  of  good  size,  and  nail  it  to  a 
wooden  standard,  painted  black.  At  both  places  there 
are  tall  white  wooden  goblets. 

In  the  centre  of  the  table  there  should  be  a  curious, 
grotesque,  but  very  gay  flower,  standing  upright  in  a 
pot  of  wood  or  heavy  paper,  which  will  not  break 
when  Thyrsis  drops  it.  Concealed  at  the  root  of  this 
plant  there  should  be  a  small  sack  of  black  confetti, 
to  be  used  in  the  "poison  scene." 

The  table  should  be  set  with  nothing  but  these 
articles,  and  yet  give  the  appearance  of  bounty  and 
elegance. 

Place  the  table  parallel  with  the  footlights, —  the 
long  side  toward  the  audience. 


42  ARIA   DA   CAPO 


Columbine's  chair  is  at  the  actors'  right,  and 
Pierrot's  opposite  —  Columbine's  hat  hangs  from  her 
chair-top.  Both  chairs  are  festooned  with  tissue-paper 
ribbons,  at  least  ten  feet  long,  to  be  used  later  by  the 
shepherds  to  represent  their  wall.  These  must  be  of 
such  a  texture  as  to  break  readily  when  Corydon 
walks  through,  and  a  prearranged  transverse  tear  or 
two  will  assist  in  the  prompt  breakage  when  he  does  so. 

PROPERTIES  : 

Two  white  wooden  bowls,  one  rilled  with  fruits  and 

the    other    with    confetti    and    paper    ribbons, —  one 

ribbon  to  be  of  cotton  or  silk,  in  order  to  be  not  too 

easily  broken  by  Corydon  when  strangling  Thyrsis 

Two  tall  white  wooden  goblets 

One  artichoke  nailed  to  a  standard 

One  flower  in  paper  or  wooden  pot,  the  root  wrapped 

with  black  crepe  paper  (or  use  confetti) 

Black  and  white  tablecloth 

Macaroons 

Boots    and    prompt-book    for    Cothurnus    (large    flat 

black  book) 

Also,  if  desired,  mask  of  Tragedy  for  Cothurnus 

Crepe  or  tissue  streamers  of  different  colors,  including 

no  red  or  blue,  for  wall. 


ARIA    DA    CAPO  43 


COSTUMES: 

PIERROT:  Lavender  or  lilac  satin,  preferably  a  blue- 
lavender.  Care  should  be  taken  that  the  lavender 
does  not  turn  pink  under  the  stage  lights.  Pierrot's 
costume  is  the  conventional  smock  with  wide  trousers, 
with  black  crepe  paper  rosettes  on  the  smock,  wide 
white  tarleton  ruff.  Black  evening  pumps  with  black 
rosettes  may  be  worn.  Black  silk  skull-cap. 

COLUMBINE:  Tight  black  satin  bodice  cut  very  low, 
with  straps  over  the  shoulders,  quite  like  the  modern 
evening  gown ;  very  full  tarleton  skirts  of  different 
shades  of  pink  and  cerise,  reaching  to  the  knees; 
ruffled  bloomers  of  apple-green  tarleton,  the  ruffles 
showing  below  the  skirts;  black  silk  stockings  and 
black  ballet  slippers,  laced  with  green.  Hat  of 
lavender  crepe  paper,  with  streamers  of  gay  colors  — 
including,  however,  no  clear  red  or  blue.  Hat  should 
be  small  and  very  smart  —  not  a  shepherdess  hat. 
Columbine  should  be  made  up  to  suggest  a  doll.  As 
originally  interpreted  she  had  short  light  hair,  standing 
out  bushily  all  over  her  head.  Long  hair  should  be 
rolled  under  to  give  a  bobbed  effect,  or  could  be 
arranged  in  obvious  caricature  of  some  extreme  modern 
style,  but  must  look  attractive,  and  must  be  blonde. 


44  ARIA    DA    CAPO 


COTHURNUS:  Plain  toga  of  dull  purple  in  some  heavy, 
unreflecting  material  which  will  fall  into  large  folds, 
lined  with  sombre  flame-color;  a  garment  with  large 
purple  sleeves,  of  which  only  the  sleeves  were  visible, 
was  worn  under  the  toga, —  but  the  effect  should  be 
classical ;  heavy  boots  should  be  worn,  as  nearly  as 
possible  like  the  tragic  Roman  buskin;  one  end  of 
the  great  toga  is  tied  into  a  rough  hood  which  covers 
the  actor's  head;  a  mask  may  be  worn,  but  it  is  often 
difficult  to  speak  through,  and,  if  desired,  the  actor's 
face  may  be  made  up  to  represent  a  mask  of  Tragedy. 

THYRSIS  and  CORYDON:  These  costumes,  in  striking 
contrast  to  the  elegance  of  those  of  Pierrot  and  Colum 
bine,  should  be  very  simple,  and  very  roughly  made; 
short  tunics  of  outing-flannel  or  some  such  material  — 
fastened  loosely  over  one  shoulder, —  one  shoulder,  as 
well  as  most  of  the  back  and  breast,  exposed.  Legs 
bare,  or  swathed  from  the  knee  to  the  ankle  in  rough 
strips  of  the  same  material.  Sandals.  Cloaks  of 
heavier,  cheap  material  fastened  to  the  tunics  in  such 
a  way  that  they  will  appear  to  be  simply  flung  over 
the  shoulder,  but  actually  fastened  very  cleverly  in 
order  to  avoid  tripping  the  shepherds,  who  are  con- 


ARIA   DA    CAPO  45 


tinually  sitting  down  on  the  floor  and  getting  up 
again. 

Thyrsis  wears  a  dark  grey  tunic  and  cloak  of  raw 
bright  red, —  but  not  a  turkey-red,  as  this  color  will 
kill  the  blue  of  Corydon's  cloak.  Corydon  wears  tunic 
of  light  grey  and  cloak  of  brilliant  blue.  There  must 
be  no  red  or  blue  used  anywhere  in  the  entire  play 
excepting  in  the  blue  and  red  of  these  two  cloaks. 
The  two  shepherds  must  be  so  strong  and  vivid  in 
every  way  that  when  Columbine  comes  in  and  says, 
"Is  this  my  scene  or  not?"  it  will  seem  to  the  audience 
that  it  is  she,  not  the  shepherds,  who  is  hopelessly 
out  of  the  scene. 

CHARACTERS: 

PIERROT:  Pierrot  sees  clearly  into  existing  evils  and 
is  rendered  gaily  cynical  by  them;  he  is  both  too  indo 
lent  and  too  indifferent  to  do  anything  about  it.  Yet  in 
several  lines  of  the  play  his  actual  unhappiness  is  seen, 
—  for  instance,  "Moon's  just  a  word  to  swear  by," 
in  which  he  expresses  his  conviction  that  all  beauty 
and  romance  are  fled  from  the  world.  At  the  end 
of  the  play  the  line,  "Yes,  and  yet  I  dare  say  he  is 
just  as  dead,"  must  not  be  said  flippantly  or  cynically, 


46  ARIA   DA    CAPO 


but  slowly  and  with  much  philosophic  concentration  on 
the  thought.  From  the  moment  when  Columbine  cries, 
"What's  that  there  under  the  table?"  until  Pierrot 
calls,  "Cothurnus,  come  drag  these  bodies  out  of  here !" 
they  both  stand  staring  at  the  two  bodies,  without 
moving  in  any  way,  or  even  lifting  their  eyes.  (This 
same  holding  of  the  play  is  used  several  times  also  by 
the  shepherds, —  for  instance,  always  during  the  off 
stage  interpolations,  they  stand  either  staring  at  each 
other  across  the  wall,  or  maintaining  whatever  other 
position  they  may  have  had  when  the  off-stage  voice 
begins  speaking,  until  the  interruption  is  over,  when 
they  resume  their  drama  quite  as  if  nobody  had 
spoken.)  Columbine's  "How  curious  to  strangle  him 
like  that"  is  spoken  extremely  slowly,  in  a  voice  of 
awe,  curiosity,  and  horror.  For  a  moment  the  two 
characters  seem  almost  to  feel  and  be  subdued  by  the 
tragedy  that  has  taken  place.  They  remain  standing 
very  quietly  while  Cothurnus  speaks  his  final  lines  off 
stage,  and  for  a  moment  after  he  has  said,  "The 
audience  will  forget";  then  very  slowly  raise  their 
eyes  and  exchange  glances,  Pierrot  nods  his  head 
curtly  and  says,  "That's  so";  they  set  their  bowls 
gaily  back  on  the  table,  and  the  play  begins  again. 


ARIA   DA    CAPO  47 


Pierrot  in  such  lines  as  "Ah,  Columbine,  as  if  it 
mattered!"  speaks  with  mock  saccharine  tenderness; 
but  in  such  lines  as  "If  you  were  a  fly  you  would  be 
dead  by  now!"  although  he  speaks  very  gaily  his  malice 
must  be  apparent  almost  even  to  her;  Columbine  bores 
him  to  death.  When  he  says,  "I'll  go  and  strum  the 
moon !"  he  is  for  the  instant  genuinely  excited  and 
interested;  he  is  for  this  moment  like  a  child,  and  is 
happy. 

COLUMBINE:  Pretty  and  charming,  but  stupid;  she 
never  knows  what  Pierrot  is  talking  about,  and  is  so 
accustomed  to  him  that  she  no  longer  pretends  to 
understand  him;  but  she  is  very  proud  of  him,  and 
when  he  speaks  she  listens  with  trustful  admiration. 
Her  expression,  "I  cannot  live  without"  this  or  that, 
is  a  phrase  she  uses  in  order  to  make  herself  more 
attractive,  because  she  believes  men  prefer  women  to 
be  useless  and  extravagant ;  if  left  to  herself  she  would 
be  a  domestic  and  capable  person. 

COTHURNUS:  This  character  should  be  played  by  a 
tall  and  imposing  figure  with  a  tremendous  voice. 
The  voice  of  Cothurnus  is  one  of  the  most  important 
things  in  the  acting  play.  He  should  have  a  voice 


48  ARIA   DA   CAPO 


deeper  than  the  voice  used  by  any  of  the  other  persons, 
should  speak  weightily  and  with  great  dignity,  but 
almost  without  intonation,  and  quite  without  feeling, 
as  if  he  had  said  the  same  words  many  times  before. 
Only  in  his  last  speech  may  he  be  permitted  a  comment 
on  the  situation.  This  speech  should  be  spoken  quite 
as  impressively  as  the  others  and  fully  as  slowly. 

CORYDON  and  THYRSIS:  These  two  characters  are 
young,  very  simple,  and  childlike;  they  are  acted  upon 
by  the  force  that  sits  on  the  back  of  the  stage  behind 
them.  More  and  more  as  their  quarrel  advances  they 
begin  to  see  that  something  is  wrong,  but  they  have 
no  idea  what  to  do  about  it,  and  they  scarcely  realize 
what  is  happening,  the  quarrel  grows  so  from  little 
things  into  big  things.  Corydon's  first  vision  of  the 
tragedy  is  in  "It's  terrible  when  you  stop  to  think  of 
it."  Thyrsis'  first  vision  comes  when  he  looks  into 
the  pool ;  in  seeing  the  familiar  reflection  he  is  struck 
by  the  unfamiliarity  of  one  aspect  of  it,  the  poisonous 
root;  for  the  first  time  he  realizes  that  this  man  who 
is  about  to  kill  with  poisoned  water  his  most  beloved 
friend,  is  none  other  than  Thyrsis  himself, — "  'Tis  I !" 
The  personalities  of  Thyrsis  and  Corydon  are  not 


ARIA    DA    CAPO  49 


essentially  different.     They  develop  somewhat  differ 
ently,  because  of  the  differing  circumstances. 

When  Columbine  goes  out  for  the  first  time  she 
takes  with  her  her  artichoke  and  her  wine-glass,  also 
a  couple  of  macaroons,  which  she  nibbles,  going  out. 
This  helps  to  get  the  table  cleared.  The  other  articles 
are  removed  by  the  shepherds  when  they  prepare  the 
stage  for  their  scene,  in  this  manner:  at  the  cue  "Sir, 
we  are  always  ready.  .  .  .  Play  the  play!",  Corydon 
and  Thyrsis  come  down  stage,  Corydon  to  Pierrot's 
end  of  the  table,  Thyrsis  to  Columbine's;  simul 
taneously,  first,  they  set  back  the  chairs  against  the 
wall,  Pierrot's  left  front,  Columbine's  right  front; 
next  they  remove  the  two  big  bowls  and  set  them  in 
symmetrical  positions  on  the  floor,  left  front  and 
right  front,  in  such  a  way  that  the  bowl  of  confetti 
may  be  the  mine  of  jewels  for  Corydon,  and  the  bowl 
of  fruits,  the  punch-bowl,  may  represent  the  pool  of 
water  for  Thyrsis;  then,  taking  the  table  by  the  two 
ends,  they  set  it  back  against  the  wall,  right;  next, 
while  Corydon  places  the  two  pillows  from  the  left 
wall  on  the  floor  to  represent  rocks  in  their  pasture, 
Thyrsis  removes  from  the  table  everything  that  is  left 


5O  ARIA    DA    CAPO 


on  it  except  the  tablecloth, — this  should  be  only 
Pierrot's  wine-goblet  and  the  flower  in  its  pot.  (The 
flower  is  to  represent  later  the  poisonous  weed  which 
Thyrsis  finds,  the  wine-goblet  a  drinking-cup  beside 
the  pool,  the  flower-pot  a  bowl  in  which  to  mix  the 
poison  and  bring  it  to  Cory  don.)  The  two  shepherds 
do  this  setting  of  their  stage  swiftly  and  silently,  then 
seat  themselves  at  once,  in  easy  but  beautiful  postures, 
and  remain  for  a  moment  looking  off  as  if  at  their 
sheep  while  a  complete  silence  settles  over  the  stage 
and  house, —  a  pastoral  silence,  if  it  is-  possible  to  sug 
gest  it  —  before  they  begin  to  speak. 

When  Columbine  comes  in,  looking  for  her  hat,  she 
picks  up  the  hat  from  her  chair,  now  in  the  centre  of 
the  stage  near  the  footlights,  in  a  direct  line  with 
Pierrot's,  which  is  centre  back,  just  in  front  of 
Cothurnus, —  the  shepherds  having  set  them  in  these 
positions,  back  to  back,  in  order  to  have  their  aid  in 
weaving  the  wall.  After  taking  her  hat,  Columbine 
stands  looking  at  the  shepherds  to  see  what  is  going  on. 
They  do  not  look  at  her.  After  a  moment  Thyrsis, 
slowly,  with  his  eyes  steadfastly  on  Corydon's,  says, 
"Take  it,  and  go."  When  Columbine  comes  in  in  the 


ARIA   DA    CAPO  51 


final  scene,  she  is  wearing  the  hat.  She  takes  it  off, 
however,  as  she  sits  down  again  at  the  table,  so  that 
the  second  beginning  of  the  play  may  recall  as  vividly 
as  possible  to  the  audience  the  first  beginning. 


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